Roger Lancelyn Green


“[…] but the great legends, like the best of fairy tales, must be retold from age to age: there is always something new to be found in them, and each retelling brings them freshly and more vividly before a new generation - and therein lies their immortality.”

Roger Lancelyn Green on Arthurian legend.

Merlin (2008-2012), Camelot (2011), The Mists of Avalon (2001), Quest for Camelot (1998), Monty Python and the Holy Grail (1975), The Sword in the Stone (1963).

**I am not the creator of these GIFs, if you see one that is yours, please let me know so I can give proper credit.

Lotte Reiniger b. 2 June 1899 – d. 19 June 1981

Reiniger was a German director and animator who specialized in silhouette animation. 

At a very early age Reiniger was fascinated with movies and with Japanese silhouette art.  Enrolling in an acting school taught by actor/director Paul Wegener she quickly caught his eye with her silhouetted figures and he commissioned her to make the opening titles of his 1918 film The Pied Piper of Hamelin. She enrolled in the Institute for Cultural Research shortly after and began making short films by making elaborate cardboard figures and scenes and then photographing them so that when played together they formed a moving image. 

In 1926 she directed the earliest surviving feature length animated film, The Adventures of Prince Achmed.

By 1933 Reiniger and her husband Carl Koch left Germany due to the rise of the Nazi party and began living in exile around Europe. Unable to find a country willing to grant them permanent status they were temporarily sheltered by Jean Renoir in France and Luchino Visconti in Italy. They finally returned to Berlin after the end of WWII. 

Reiniger is credited as director on at least 55 films. She continued making shorts and features until 1980. 

Among her other accomplishments is creating the logo for the National Deaf Children’s Society in the UK and contributing illustrations to Roger Lancelyn Green’s children’s book King Arthur and His Knights of the Round Table.

In utter contradiction of Roger Lancelyn Green’s solemn pledge, in his introduction to his 1953 edition of Charles Dodgson’s private diaries, that –

“though I have cut out a number [of entries], besides shortening many others. My principle has been to keep every entry of literary interest, every reference to even the least important of his works, every mention of the books that he read, the plays that he witnessed, and the pictures that he saw…”

–in truth hundreds of omissions in the artistic and cultural field alone show that the original material of the nine surviving manuscript notebooks had been severely edited by Dodgson’s nieces Violet Dodgson and Frances Menella Dodgson when they prepared the typescript that Green was allowed to reproduce.

No fewer than:

  • 13% of the books C.L. Dodgson read [32 out of 242]
  • 20% of the plays he witnessed [139 out of 683]
  • 65% of the concerts he heard [79 out of 121]
  • 53% of the light entertainments he attended [18 out of 34]
  • 40% of the exhibitions he vsited [87 out of 215]

were omitted from the first printed version of his diary, together with 199 mentions of or judgments on the impersonations of actors and actresses of all ages out of 870 [about 23%].

Moreover, these figures only give an account of the total suppressions affecting that field, to which should be added hundreds of partial quotations, leaving out part of the original text.

Whereas some of these gaps could easily be explained by the natural weariness of two ladies well into their seventies, encouraging them to curtail the immense task they had set themselves, other cuts, systematically affecting certain reference, obviously proceeded from Violet and Frances Menella’s deliberate concern, often ill-directed in its obsolete Victorianism, to reflect a refined image of their uncle as the ideal embodiment of universal benevolence, innocence and purity.

This highly questionably though well-meaning purpose was nowhere more obvious than in their extremely awkward handling of their uncle’s expressions of interest in mature as well as immature members of the fair sex: but, whereas most of his words of praise for the former were ruthlessly censored, his indisputable fascination for the latter was dealt with far less consistently.

—  Lebailly, H. (2010). Through a distorting looking-glass: Charles Lutwidge Dodgson’s artistic interests as mirrored in his nieces’ edited version of his diaries. Retrieved from A Distorting Looking Glass.pdf
“Tales of Ancient Egypt” by Roger Lancelyn Green

(Grade 5 and up) Thousands of years ago, the ancient Egyptians told stories of gods and mortals that have survived to this day. This book contains many such tales explaining life and the afterlife in Egypt : how Amen-Ra created the world; how Isis and Osiris managed to defeat their brother, the evil Set; how some mortals were blessed by the gods, and others punished; how some of Egypt’s most famous monuments were built; and how a girl’s red shoe brought her to the attention of the Pharaoh. Old as these tales are, some have been retold so many times that you might know them already…

This book is a prime example of why I like to read and review books intended for younger audiences from time to time: the simple language makes this a quick, easy read, and while the subject of ancient Egyptian mythology is plenty interesting on its own, in the summer especially (when it always seems like I have far more books than time to read them), it’s great to have something that’s both educational and easy to read, as a kind of break from the several long novels I’m also reading. If you’re only familiar with the basics of ancient Egyptian culture (pantheism, mummies), then I highly recommend this. It’s an engaging, short book to mix in with more time-intensive summer reading. (4 out of 5 stars)

  • Paperback: 214 pages
  • Publisher: Puffin (May 12, 2011)
  • Language: English
  • ISBN-10: 014133259X
  • ISBN-13: 978-0141332598 (Source of Publication Data: